Did AC/DC Just Leak New Photos With Brian Johnson and Phil Rudd?

Photographs that appear to show a reunited AC/DC filming a new music video were reportedly posted, then removed from the band’s official website earlier this week.

The images are noteworthy because they feature three members who departed AC/DC at various stages of the chaotic tour in support of the group’s most recent album, 2014’s Rock or Bust.

The group is widely rumored to have completed a new studio album using tracks recorded by founding rhythm guitarist Malcolm Young prior to his 2017 death. Young was forced to leave AC/DC prior to the recording of Rock or Bust due to a battle with dementia and other health issues.

Drummer Phil Rudd played on Rock or Bust, but was unable to go on tour after he was arrested in November 2014, and sentenced to eight months of home detention for threatening to kill and possession of methamphetamine and marijuana.

Singer Brian Johnson was forced to leave the tour in March 2016 after doctors told him he risked permanently losing his hearing. Guns N’ Roses singer Axl Rose replaced Johnson for the final 23 shows of the tour. Shortly before the trek’s conclusion, bassist Cliff Williams announced that he would be retiring from the group.

The new photos show longtime lead guitarist Angus Young, his nephew Stevie (who replaced Malcolm as the group’s rhythm guitarist in 2014), Johnson, Rudd and Williams all together in front of a large red version of the band’s logo. Rudd did not appear in any of the promotional videos for Rock or Bust, so seeing him and Stevie Young together indicates that the photos are indeed new.

AC/DC has not confirmed or commented on any reports regarding new recording, release or touring plans.

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Uriah Heep and Ozzy Osbourne Drummer Lee Kerslake Dead at 73

Lee Kerslake, who played drums with Uriah Heep, Ozzy Osbourne and others, has died at the age of 73 after a battle with cancer that began around 2015.

Semi-retired for health reasons since 2007, Kerslake was best known for appearing on Osbourne’s first two solo albums, Blizzard of Ozz and Diary of a Madman, and for the legal dispute that arose over his contribution to the early ‘80s titles.

“It’s with the heaviest of hearts that I share with you that Lee Kerslake, my friend of 55 years and the best drummer I ever played with, lost his battle with cancer at 03:30 this morning,” Kerslake’s longtime Uriah Heep bandmate Ken Hensley wrote, according to Classic Rock. “He died peacefully, praise the Lord, but he will be terribly missed.”

English-born Kerslake’s first notable appointment came with a band called the Gods, with whom he recorded the albums Genesis and To Samuel a Son in 1968 and 1969, and in 1970 he appeared on Orgasm with Head Machine and Toe Fat’s self-titled LP. All these projects featured Hensley, who became part of Heep’s founding lineup. In 1971 Kerslake played on Albert One with National Head Band.

“The English scene was always at a boil,” he recalled in 2002. “We were always waiting to get connected in English music, because there was so much cross-talent. Where I was born and bred, there were major musicians Bob Fripp, Greg Lake, John Wetton – and I consider myself somewhere in among that league. There were some fabulous musicians, but the only way we could make it was to go up to London, because it’s the heart of the music industry.”

Later in 1971 he reunited with Hensley in Heep in time to become a member of their classic-era lineup. The drummer’s first studio appearance came on their fourth album, 1972’s Demons and Wizards. “When I was offered it the first time, I turned it down,” he admitted. “And it wasn’t [Hensley] that was the deciding factor. It was when I met [band leader] Mick Box. Mick and me got together down at Jubilee Studios. … I set my kit up, he set his guitar up and we just started playing a bit and jamming. About three and a half hours later, when we put our instruments down, we looked at each other and went, ‘Fancy a beer?’”

He added of breakthrough LP Demons and Wizards, “Mick and others said the missing link was, they didn’t have the drummer – they didn’t have the harmony choral parts quite there … I was the missing part of the key, so to speak. From then on, I wrote music as well. I wrote three songs with Mick on that album, and with David Byron. It seemed to gel when I joined. We all worked with each other.” He played on eight further LPs before being replaced by future AC/DC drummer Chris Slade for 1980’s Conquest.

That same year Kerslake met Osbourne, who’d recently been fired by Black Sabbath, and helped found the band Blizzard of Ozz alongside bassist Bob Daisley and guitarist Randy Rhoads. He recalled receiving a call from an agent in Germany: “He phoned me up and said, ‘I didn’t know you’re not in Uriah Heep. Do you want to join the band Ozzy Osbourne’s trying to put together?’ I said, ‘I don’t know. We’ll audition each other.’ I auditioned them, and they auditioned me. It was the first time I ever heard Randy Rhoads play. I knew Bob Daisley – I knew how good Bob was. When I heard Randy, I just went, ‘Wow!’ And when he heard me, he jumped about three feet in the air. I hit the drums and they went off like a couple of cannons and hit him in the back! He just jumped for joy. It was great. As much as they were impressed with me, I was certainly impressed with Randy and Bob.”

He remembered the musical experience as incredibly positive, saying, “The recording was fun, because we were left to our own devices – me, Bob, Randy and Ozzy. …We all used our own experiences. I would come up with ideas from Randy’s guitar part. Randy would come up with ideas for a riff, and give me a drum pattern to it. It was great. Wonderful. And the tour was excellent, because it was so tight. Professional. It was really good.

“As soon as we finished that English tour, things started to take flight with Blizzard of Ozz and we were asked to do another [album] together. That’s when I had the opportunity to come in with a lot more ideas. That’s when I co-wrote six of the songs. I had ideas from other things I’d been writing. Plus what Randy had, and what Bob had. We put them all together. On a couple of the tracks I think we churned out two of them in about eight or nine minutes. That was the magic.”

Things began to go wrong during the Madman cycle, Kerslake said. “[T]he only annoyance we had was we were trying to get them to give us the money they promised up front. We were going in, doing the album, and saying, ‘Wait a minute. You’ve got a record deal. We want some money up front. We need to have some money to live off of, and get ourselves together.’ … They said ‘OK, guys, you’ve got your deal. Now go back and finish the album.’ So we thought, ‘That’s great.’ We went away for a break, and next we found out [Daisley and I] were out.

“Everything [had been] working fine. It was only when Sharon [Osbourne] came in that we had a problem… she wasn’t the manager until Diary of a Madman. … [S]he came in and it started to get edgy. But we never suspected a thing until we went away on holiday. Next minute, they’re rehearsing with Tommy Aldridge and Rudy Sarzo, and going to America. Ouch.”

After his 1981 dismissal – with the official line having been that his sick mother needed his care – Kerslake received a call from Mick Box, who wanted to reinvent Heep, so he rejoined and brought Daisley with him. “Our minds were taken off [Diary of a Madman]. We were too busy getting Uriah Heep off the ground,” the drummer said.

However, foundations for the future legal dispute had been laid when Kerslake and Daisley were denied Madman songwriting credits they believed they were entitled to, and neither were named in the recording credits. Aldridge, of Whitesnake fame, spoke in 2005 of his involvement in being named and pictured as the drummer on the LP: “I think it’s pretty obvious that it’s not my drumming on that album. I have never taken credit for that recording and have always given Lee Kerslake, whenever asked or interviewed, the credit he rightly deserves. … As for the photo, it was as big to me as well. I first saw it when everyone else did… when the record was released. It was not my choice/decision for that image to imply that I was on the album.”

Part of Kerslake’s argument centered on the musicians’ assertion that Blizzard of Ozz had been a band of equals, while Sharon Osbourne argued that it had always been a solo project with three hired hands. The lawsuit went to court in 1998, with Kerslake and Daisley claiming credits and royalties. The case was ultimately dismissed in 2003, leaving the pair bankrupt. The previous year, reissues of both albums had featured new drum and bass tracks by Mike Bordin and Robert Trujillo respectively, with the originals only returned in 2011. “That was a really kind of fucked-up thing,” Faith No More and ex-Ozzy drummer Bordin said later. “That wasn’t what I was going in expecting to do. It wasn’t the way it was presented to me at all. I never knew that.”

“The audacity!” Kerslake said in 2002. “Whatever we’ve done to deserve that, I have no idea. It doesn’t make me look bad, or Bob look bad. It makes Ozzy and Sharon look terrible for doing such a destructive thing. Those first two albums have stood the test of time – 20 years – because of us writing and playing them. … It’s like taking a Harley-Davidson and making it sound like a Yamaha. … It is senseless, because at the end of the day all the fans are gonna realize… that’s why suddenly I’m getting inundated with interviews.”

In 2003 Kerslake and Daisley recorded their own versions of some of their Osbourne tracks with Living Loud, which also featured Deep Purple guitarist Steve Morse and Australian singer Jimmy Barnes. Kerslake continued to work with Uriah Heep until his health-related departure in 2007, after having appeared on 13 more studio albums. A band statement said that he’d “found the rigors of constant touring increasingly stressful and will now take the opportunity over the next few months to embark on a stringent campaign in order to resolve his health issues.” Box lamented the departure of “not only someone who I have worked with for some 35 years, but also one of my closest and oldest friends who I love like a brother.”

In 2009 Kerslake explained, “I’ve had a lot of illnesses which I’ve refused to let take me over and beat me. But there are certain things you cannot beat, old age and everything that comes with it. You can’t deny that. That’s why I had to retire. I have rheumatism in my neck bones, from shoulders to the brain. So because of this I have a headache 24/7. It’s bit of a pain but I’m not going to complain because that’s my life. I’ve had a tough life, I’ve lived hard and fast and I’ve enjoyed it. And I’m enjoying it now probably more than ever. … I couldn’t do a three-month, six-weeks on one go anymore. It just takes all out of me. But I still play just as hard on the drums. As I did when I was 25. Except now it hurts!”

Among other projects, he formed his own Lee Kerslake Band to continue working periodically and also appeared alongside Hensley and fellow ex-Heep man Paul Newton on occasion. In 2015 he and Hensley appeared with Heep for a two-hour reunion show in Moscow.

He announced his cancer diagnosis in 2015 but asserted his determination to defeat the illness, saying, “I have had numerous tests and have been told by my specialists that I will be around for a good while yet — meaning years. My bone and prostate cancer can be controlled for me to live pretty much a normal life — after all, I kicked my diabetes into remission, so I will bloody well beat this.” He added, “I still have a lot of loyal fans to play to, which I intend to do in the coming years. I also want a big spread on my 80th.”

He continued to work intermittently, pursuing a documentary about his career to be titled Not on the Heep. “I wanted people to realize there is camaraderie in the music industry between all the musicians, even when we don’t speak to each other for maybe 20 years,” he said in 2018. “I went to Joe Elliott’s house from Def Leppard and he did an interview, I went to Ian Paice’s house, and it was bloody wonderful – we played drums together.” He added that he also wanted the film to act as encouragement for artists who were trying to work through poor health. In addition, he reported he’d completed a solo album, Eleventeen, which he was “shopping” with a view to a 2019 release.

In 2018 Kerslake reported he’d been given eight months to live, and said the dispute with the Osbournes was “all forgotten and forgiven,” adding, “I’ve written to Sharon and Ozzy recently, a personal letter basically asking them to kindly send me platinum album certifications for Blizzard of Ozz and Diary of a Madman, to hang on my wall before I die. It’s on my bucket list. I hope they will come to terms with it and say yes. I went belly-up bankrupt when I lost the case to Sharon and Ozzy Osbourne in the courts. It costs me hundreds of thousands and I had to sell the house, and then started to get ill. … But a platinum certification on my wall for these albums would be fantastic. … It would say I helped create those albums.” In January 2019 his wish was granted when the Osbournes sent him his platinum discs.

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Jimi Hendrix: 50 Quotes For 50 Years

“Don’t let things happen – make things happen” is an attitude that many people try to adopt, but circumstances around them don’t necessarily make it easy. It wasn’t easy for Jimi Hendrix to make things happen, but in his short musical career he achieved a lot, and certainly hoped to achieve more.

In selecting 50 quotes from across his most remarkable period, from 1966 until his death on Sept. 18, 1970, it’s might be easy to first conclude that Hendrix said things that still resonate today. Maybe he did; but what’s more important is that he managed to transmit ideas and attitudes to an audience that, otherwise, might never have encountered them.

That’s the most important way an artist achieves immortality.

How he got his stage name: “88 percent from my birth certificate, 12 percent from misspelling.”

“If I didn’t smoke, I’d be fat as a pig. My nerves are very bad. I like tipped cigarettes mostly, alternating with menthol ones – about a pack over a day and a half.”

“I just called my dad once when I came to England to let him know I’d reached something. He asked me who I had robbed to get the money to go to England.”

“Actually, I’m scared to go home. My father is a very strict man. He would straight away grab hold of me, tear my clothes off and cut my hair!”

“You see, different music is supposed to be used in different ways. I believe the best time to listen to classical music is any time when it’s very quiet or your mind is very relaxed. When you feel like daydreaming, maybe.”

“I like to watch the lightning. Especially in the fields and flowers when I’m on my own. I read a lot of science fiction.”

On Bob Dylan: “I saw him one time, but both of us were stoned out of our minds. I remember it vaguely. … We were both stoned there, and we just hung around laughing – yeah, we just laughed.”

On the Beatles: “They’re one group that you can’t really put down because they’re just too much. And it’s so embarrassing, man, when America is sending over the Monkees – oh, God, that kills me!”

On the Who: “We don’t really break anything onstage. … If we wanted to break something up, we would do it. There’s a lot of times in the past I have felt like that too. But it isn’t just for show, and I can’t explain the feeling. It’s just like you want to let loose and do exactly what you want if your parents weren’t watching. I dig the Who; I like a lot of their songs.”

“Here’s one thing I hate, man: When these cats say, ‘Look at the band; they’re playing psychedelic music!’ And all they’re really doing is flashing lights on them and playing ‘Johnny B. Goode’ with the wrong chords. It’s terrible.”

“The one thing I really hate is miming. It’s so phoney. So far, the only thing I was asked to mime was a Radio London appearance and I felt guilty just standing there holding a guitar. If you want to scream and holler at a record, you can do that at home. I’m strictly a live performer.”

On the Jimi Hendrix Experience: “We know what song we’re gonna play and what key it’s in and the chord sequences, and we just take it from there. And so far it hasn’t bugged me in any way like saying, ‘Oh, no! There he goes playing that rock ’n’ roll bass pattern again.’ Everybody’s doing pretty cool.”

“I know I can’t sing; I’m primarily a guitarist. Some people think I’m good, and that’s what I want to find out. I’ve been working with myself and my ideas for 21 years. Now I want to find out from everyone else if they are any good.”

“I prefer to play in Europe, because here people listen and understand what it’s all about, whereas they freak out in the States. I don’t like playing at night because I can’t see the audience. This is the best part of big open-air festivals: It’s daylight, and you can see the faces of the audience.”

“Strangely, there were only 15,000 people left when we played at Woodstock as I insisted on playing in daylight, which meant waiting for the fourth day, and most of the kids had split by then.”

“I dug the Woodstock festival – especially Sly [Stone] and Richie Havens. And the guy from Ten Years After, yeah, I was just a little bit jealous when I saw him play.”

“I think it would be better if I’d gone to the Isle of Wight and mingled … took a sleeping bag with me and mixed with the crowds, to identity with it all. It would be so much better than all this, but there are the usual problems. If I do things like the that, people come up to me saying, ‘Look, it’s him …’”

“Sometimes I feel we should do a free concert. I see the prices that the kids pay to see us, and it’s just ridiculous.”

On his wilder stage performances: “We did those things mostly because they used to be fun. … They just came out of us. But the music was the main thing. Then what happened? The crowd started to want those things more than the music. Those little things that were just added on, like frosting, you know, became the most important. Things got changed around. We don’t do that stuff as much any more.”

“I dream a lot and I put a lot of my dreams down as songs. I wrote one called ‘First Look Around the Corner’ and another called ‘The Purple Haze,’ which was all about a dream I had that I was walking under the sea!”

“You can’t expect deep feeling to come out of music put down on bits of paper with arrangements. I feel everything I play; it’s got to be inside you.”

“You don’t plan songwriting. You don’t get into a certain groover to write a song. You can get inspiration for a song at any time, because music is just what you feel.”

“You never know what shape clouds are going to be before you see them.”

On working in his Electric Lady Studios: “It’s a very relaxing studio, and it doesn’t have that typical studio atmosphere. There are lots of cushions and pillows, thick carpets and soft lights. You can have any kind of light combination you like … just what you feel like. I think this is very important. There are many capable engineer around now; the problem is this atmosphere thing.… I’m into this combination of music and color; it’s an extra sense of awareness. I’m thinking about a film using those techniques.”

“On the first LP, I didn’t know what I was writing about then. Most of the songs, like ‘Purple Haze’ and ‘The Wind Cries Mary,’ were about 10 pages long, but then we’re restricted to a certain time limit so I had to break them all down. … I didn’t know whether they were going to be understood or not. Maybe some of the meanings got lost by breaking them down, which I never do anymore.”

“I’m a little bit quiet, a little closed. Most of the time I don’t talk so much. What I have to say, I say with my guitar.”

“I’m here to communicate. That’s my reason for being around; it’s what it’s all about. I want to turn people on, and let them know what’s happening. Even if they have 9-to-5 jobs and come to the family and TV, that’s what counts, to keep turned on.”

“But politics is old hat. Anyone can go round shaking babies by the hand, and kissing the mothers, and saying that it was groove. But you see, you can’t do this in music. Music doesn’t lie. I agree it can be misinterpreted, but it cannot lie. When there are vast changes in the way the world goes, it’s usually something like art and music that changes it. Music is going to change the world next time.”

“It’s best to have violence on stage and watch it through TV than do it yourself.”

“Some of the vibrations people claim they are getting now, it is true considering the fact that the Earth is going through a very – what do you call it – physical change soon. … Since the people are part of Earth, they are going to feel it too. In many ways, they are a lot of the reason for causing it.”

“I don’t really believe that … transcendental mediation is much more than day dreaming. If you really believe in yourself, you can think it out on your own.”

“I think religion is just a bunch of crap. It’s only man-made stuff, man trying to be what he can’t. And there’s so many broken-down variations, all trying to say the same thing, but they’re so cheeky, all the time adding in their own bits and pieces. Right now, I’m working on my own religion, which is life.”

“Some people have told me that they think wearing a military jacket is an insult to the British army. Let me tell you I wear this old British coat out of respect. This was worn by one of those ‘cats’ who used to look after the donkeys which pulled the cannons way back in 1900. This coat has a history; there’s life to it. I don’t like war, but I respect a fighting man and his courage.“

“You know, when you’re young, most people have a little burning thing, but then you get your law degree and go into your little cellophane cage. You can do the family thing. I’ve wanted to do that at times. I’ve wanted to go into the hills sometimes, but I stayed. Some people are meant to stay and carry messages.”

“[A]nybody can protest. … Like in records or whatever you use music for, anybody can protest but hardly anybody tries to give a decent type of solution – at least a meantime solution, you know.”

“[T]hat’s what the establishment’s waiting for, for people to start fighting against their own selves, like for instance black against white, yellow against pink and all that. But that’s not the idea of the thing. … The idea is against the new and the old, and the establishment causes this by playing games, by turning different colors against each other to make the younger generation weak.”

“There’s no such things as age brackets; not in my mind, ‘cause a person’s not actually old in numbers of years, but how many miles he’s traveled, you know? How he keeps his mind active and creative.”

“Your body’s only a physical vehicle to carry you from one place to another without getting into a lot of trouble. … People who fear death – it’s a complete case of insecurity. That’s why the world’s screwed up today, because people base things too much on what they see and not on what they feel.”

“There really are other people in the solar system, you know, and they have the same feelings too.”

“I have only one life to live. I might not be here tomorrow, so I’m doing what I’m doing now.”

“All the things I thought were important before I had a hit record are just as important now:. Trying to understand people and respect their feelings, regardless of your position or theirs. The beautiful things are still the same, the sunset and the dew on the grass. No material wealth changes the way I think about these things.“

“I felt maybe too many people were coming to see me and not enough to listen to me. … My nature changed as well.”

“If I stay with one person too long, if I feel more obligated than I do pleased, that makes me – as it were – have to get away. So I don’t know how free [a] feeling like that is, if every time you turn around you might be with somebody.”

“I can’t have fun like anybody else. I used to be able to go somewhere, down to the Wimpy [burger bar] or something like that … but most of the time I go down there now, there’s always people asking for autographs, somebody looking at me really strange – you know, whispering and all that. So then, naturally you get complexes about that.”

“[I]f I wasn’t a guitar player I probably would … be in jail. … I get very stubborn, like with the police. I used to get into arguments with them millions of times. … So, I’d probably wind up getting killed.”

“Success, to me, is like doing your utmost, achieving the ultimate. Well, I have not done that. … I think I shall always be looking for success.”

“One day I want to become a parent. Now that is what the world is all about. Having kids. Like planting flowers.”

“I’d like to have my own country, an oasis for the gypsy-minded people. My goal is to erase all boundaries in the world.”

“I want to be the first man to write about the blues scene on Venus.”

“It’s all turned full circle; I’m back right now to where I started. I’ve given this era of music everything. I still sound the same, my music’s the same, and I can’t think of anything new to add to it in its present state. … This era of music – sparked off by the Beatles – has come to an end. Something new has got to come, and Jimi Hendrix will be there.”

Check Out Jimi Hendrix’s Guitar Hero Yearbook Picture

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Bon Jovi Joins Jennifer Nettles for Revamped ‘Do What You Can’

Bon Jovi has again teamed with Jennifer Nettles, frontwoman of the country band Sugarland, this time for an updated version of “Do What You Can.”

The single, originally released by Bon Jovi back in April, details America’s ongoing fight against the COVID-19 pandemic. With lyrics discussing social distance, PPE and frontline responders, the song touches on many topics which have become commonplace in 2020 society. Still, “Do What You Can” strikes an uplifting tone, it’s chorus praising the unbreakable human spirit:

“When you can’t do what you do / You do what you can / This ain’t my prayer, it’s just a thought I’m wanting to send / ‘Round here we bend but don’t break / Down here, we all understand / When you can’t do what you do / You do what you can.”

With Nettles in the fold, the updated version of “Do What You Can” boasts a new country twang. The singer trades vocal parts with Jon Bon Jovi, while fiddle and banjo highlight a broadened musical arrangement.

“As I finished the mix and did the video [for the album version], I said, ‘Boy, this song would have such crossover potential,’” Jon Bon Jovi explained to Rolling Stone. “Jennifer was my first choice, and she said yes.”

The music video, featuring a masked Bon Jovi exploring the city if New York, also received an update. Nettles is now added throughout the clip, including a rousing performance high atop a Big Apple building. Watch the video for the new version of “Do What You Can” below.

This isn’t the first time that Bon Jovi and Nettles have collaborated. The two famously teamed in 2006 on the song “Who Says You Can’t Go Home,” which peaked at No. 1 on the Billboard Country Chart and earned both artists a Grammy Award.

Bon Jovi’s upcoming album 2020 – featuring the original version of “Do What You Can” – is due for release Oct. 2.

You Think You Know Bon Jovi?

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Van Morrison Will Release 3 Lockdown Protest Songs

Van Morrison has announced plans to release three songs that argue against coronavirus lockdown measures, alleging that authorities are using the pandemic as an excuse to restrict liberties without any real reason.

He previously spoke out against emergency laws that have shut down the live entertainment industry, saying he only agreed to perform some socially distanced shows in order to keep his band working. Morrison described the thought processes behind these health measures as “pseudo-science.”

His new songs will be released one by one over the coming weeks: “Born to Be Free” will be the first, followed by “No More Lockdown” and “As I Walked Out.” Lyrics include: “The new normal is not normal. … Don’t need the government cramping my style. Give them an inch, they take a mile”; “no more fascist bullies disturbing our peace”; and “well, on the government website from the 21st March 2020, it said COVID-19 was no longer high risk. Then two days later, they put us under lockdown.”

The BBC reported that Van Morrison used his new music to allege that authorities were “making up crooked facts” to “enslave” the population. “I’m not telling people what to do or think. The government is doing a great job of that already,” Morrison says in an official statement. “It’s about freedom of choice. I believe people should have the right to think for themselves.”

The U.K. has seen a notable increase in coronavirus infections recently, with quarantines initiated in a number of areas across England, Scotland, Northern Ireland and Wales. British Prime Minister Boris Johnson is reportedly considering another brief national lockdown in a bid to prevent a sharp increase of deaths this fall.

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Rob Halford Admits He Has a New Addiction: Online Shopping

Rob Halford gained control of his issues with drink and drugs decades ago. But that doesn’t mean he’s free of every bad habit.

“I love my movies and my Netflix,” Halford tells GQ, “but don’t get me on my Amazon Prime at three in the morning when I can’t sleep! My other half, Thomas, will ask me, ‘What is that at the gate?’ And I usually haven’t a clue because I just ordered something late at night. It’s almost like an addiction, to be quite frank. And if you’ve got addictions, which most musicians do, you need a fix somehow. … My addiction these days is definitely Amazon Prime.”

The Judas Priest frontman is discussing aspects of his life that he’s never made public before as part of a forthcoming memoir. Confess: The Autobiography is due next month.

Elsewhere in the interview, he was asked to reveal the secret to a long-lasting relationship.

“Thomas and I have been together about 1,000 years, but here’s a simple equation,” Halford said. “He does the cooking and I do the dishes. It’s as simple as that. And you can take that through to every other level in your relationship. It has to be 50-50. If it’s 75-25, it’s wonky and you have to be perfectly balanced. You have to constantly work at it and that can be hard, but otherwise things can dry up and go stale.”

Halford also explained why John Lennon was the person who had the most influence on him.

“I’ve always been a big Beatles fan and always will be. … I just feel that what he was offering about striving for world peace was an incredibly moving and powerful thing to do,” Halford said. “He was an ambassador for world peace. He wasn’t Gandhi; he had a different take on it. But as far as what he was trying to achieve – and add to that the incredible music he wrote with Paul McCartney. For me, musically and personally, in the way he conducted himself and the way he had that incredible indestructible self belief, he is a big one.

“He always had this great gift, this great oratory gift to engage people and explain his feelings,” Halford added. “I’m sure he’d still be doing great music and making a difference today if he’d been able to.”

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Whitesnake Announce New ‘Love Songs’ Compilation

Whitesnake will explore matters of the heart on thee upcoming Love Songs compilation, out Nov. 6 via Rhino.

The second release in their “Red, White and Blues Trilogy,” Love Songs features remixed and remastered versions of 15 songs issued between 1987 and 2011 on Whitesnake’s studio records and singer David Coverdale‘s third solo project, Into the Light. Love Songs will be available digitally, on a single CD and on double-LP, 180-gram red vinyl. 

“As most of you know, pretty much all the songs I write are love songs in some way, shape or form,” Coverdale said in a statement. “These are some of my favorites. Not all are ballads. Some are out-and-out rockers with powerful romantic themes – and of course include heavy breathing in all of them!”

He added that “some [of the tracks] have been musically embellished where my co-producer Michael McIntyre, my new mixer Christopher Collier and I felt it appropriate or necessary to bring out the best in these songs.”

Love Songs features both hits (“The Deeper the Love,” “Now You’re Gone”) and deep tracks (“Don’t You Cry,” “Midnight Blue”), along with three previously unreleased outtakes from the Into the Light sessions: “With All of My Heart,” “Yours for the Asking” and “Let’s Talk It Over.”

Whitesnake previewed Love Songs with a new remix of their 1987 hit “Is This Love.” Listen below. The band’s compilation series recently kicked off with The Rock Album (white), and will wrap in 2021 with The Blues Album (blue).

Whitesnake, ‘Love Songs’ Tracklisting

1. “Love Will Set You Free”
2. “The Deeper the Love”
3. “All I Want, All I Need”
4. “Too Many Tears”
5. “Can’t Go On”
6. “Is This Love”
7. “With All of My Heart”
8. “Summer Rain”
9. “Your Precious Love”
10. “Now You’re Gone”
11. “Don’t You Cry”
12. “Midnight Blue”
13. “Easier Said Than Done”
14. “Yours For the Asking”
15. “Let’s Talk It Over”

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October 2020 New Music Releases

Bruce Springsteen has reunited with the E Street Band for the first time since their 2016 tour, and the latest edition of Record Store Day‘s RSD Drops offers another round of exclusive and limited-edition finds.

The below list of October 2020 new music releases also includes Blue Oyster Cult‘s first new record since 2001’s Curse of the Hidden Mirror. Bon Jovi‘s 2020 was delayed for months during the quarantine, giving the band enough time to continue writing. Two previously announced songs, “Luv Can” and “Shine,” have since been replaced. Elvis Costello has completed the follow-up to 2018’s Look Now, which brought home his first Grammy win in 14 tries.

Robert Plant unearthed three previously unreleased songs for the new career-spanning Digging Deep: Subterranea compilation. U2 have given 2000’s All That You Can’t Leave Behind an expanded 20th-anniversary makeover. A box set devoted to Tom Petty‘s 1994 album Wildflowers finally arrives, too.

This month’s upcoming concert sets are highlighted by the Eagles‘ first official release since the death of Glenn Frey in 2016. Live From the Forum MMXVIII also marks the recorded debut of new members Deacon Frey and Vince Gill. Queen + Adam Lambert are issuing their first full-length project together, while YesThe Royal Affair Tour: Live From Las Vegas documents a 2019 date at the Hard Rock Hotel.

More information on these and other new rock-related efforts can be found below. Remember to follow our continuously updated list of 2020 New Music Releases for details on projects issued throughout the year.

Oct. 2
Bangles, Gold (3CD)
Bob Mould, Distortion: 1989-2019 (24CD)
Bon Jovi, 2020
Corey Taylor [Slipknot], CMFT
Dave Edmunds, 5 Originals (3CD)
Frank Zappa, Halloween 81
Nickelback, All the Right Reasons: 15th Anniversary Expanded Edition
NRBQ, In Frequencies
Oasis, (What’s the Story) Morning Glory?: 25th Anniversary Edition
Queen + Adam Lambert, Live Around the World (CD/DVD)
Robert Plant, Digging Deep: Subterranea
Roger Waters, Us + Them (soundtrack)
William Shatner, The Blues [Canned Heat, Pat Travers, Ritchie Blackmore, Albert Lee]

Oct. 9
Andy Bell [Oasis], The View from Halfway Down
Blue Oyster Cult, The Symbol Remains
Dire Straits, The Studio Albums 1978-1991 (6CD set)
The Doors, Morrison Hotel: 50th Anniversary Deluxe Edition
Howard Jones, Cross That Line (expanded 3CD/1DVD set)
John Lennon, Gimme Some Truth. The Ultimate Mixes
Replacements, Pleased to Meet Me (expanded reissue)
Rick Vito [Fleetwood Mac], Lucky in Love: The Best of Rick Vito
Patty Smyth, It’s About Time
Tears for Fears, The Seeds of Love: Super Deluxe Edition
Travis, 10 Songs
Various artists, JEM Records Celebrates John Lennon

Oct. 16
Allman Brothers Band, Warner Theatre, Erie, PA 7-19-05 (2CD)
Eagles, Live From the Forum MMXVIII
Hawkwind Light Orchestra, Carnivorous
Joey Molland [Badfinger], Be True to Yourself
Neil Young and Crazy Horse, Rust Bucket
Mick Fleetwood & Friends, Celebrate the Music of Peter Green and the Early Years of Fleetwood Mac (David Gilmour, Pete Townsend, Steven Tyler, Billy Gibbons, Kirk Hammett, Christine McVie, others)
Tommy Lee [Motley Crue] ANDRO
Tom Petty Wildflowers & All the Rest

Oct. 23
Blue October, This Is What I Live For
Bruce Springsteen, Letter to You
Dan Fogelberg, Greatest Hits (vinyl reissue)
Greg Lake, The Anthology: A Musical Journey (2CD)
Joe Bonamassa, Royal Tea
John Prine, Crooked Piece of Time: The Atlantic & Asylum Albums (1971-1980) (7CD)
Little Richard, The Second Coming; Lifetime Friend (reissues)
Pearl Jam, MTV Unplugged
Thin Lizzy, Rock Legends (6CDs/1DVD)

Oct. 24: RSD Drops
Alice Cooper, Live from the Apollo Theatre Glasgow Feb. 19, 1982 (2LP)
Allman Brothers Band, An Evening With the Allman Brothers Band: First Set (2LP)
Bob Mould, Circle of Friends (2LP)
Cheap Trick, Out to Get You! Live 1977 (2LP)
Frank Zappa, You Can’t Do That On Stage Anymore: Sampler (2LP)
Grateful Dead, Buffalo 5/9/77 (5LP)
Humble Pie, Official Bootleg Collection Vol. 2 (2LP)
Keith Richards, “Hate It When You Leave” b/w “Key To the Highway” (7-inch vinyl)
Judas Priest, Sad Wings of Destiny (2LP)
Mark Knopfler, Metroland: Music and Songs From the Film (LP)
Modern English, I Melt With You (12-inch vinyl)
Randy Newman, Avalon: Original Motion Picture Score; The Natural (LP)
Rolling Stones, Metamorphosis UK (LP)
Rory Gallagher, Cleveland Calling (LP)
Skid Row, Slave To the Grind: Expanded (2LP)
Soul Asylum, Hurry Up and Wait: Deluxe Version (2LP)
Toto, Live in Tokyo 1980 (vinyl)
UFO, Live in Youngstown ’78 (2LP)
Warren Zevon, Greatest Hits: According to Judd Apatow (LP)
Who, A Quick Live One (vinyl)

Oct. 30
Chris Squire [Yes], Fish Out of Water (Blu-ray high-resolution edition)
Duran Duran, Dreaming of Your Cars: 1979 Demos Part 2
Elton John, Elton John (vinyl reissue)
Elvis Costello, Hey Clockface
Grateful Dead, American Beauty (expanded anniversary reissue)
Joni Mitchell, Archives Vol. 1: The Early Years (1963-1967)
Motorhead, Ace of Spades (expanded anniversary reissue)
Pantera, Reinventing the Steel (expanded anniversary reissue)
Procol Harum, Something Magic (2CD expanded edition)
Townes Van Zandt, Legend: The Very Best of Townes Van Zandt (two-disc set)
U2, All That You Can’t Leave Behind (expanded anniversary reissue)
Yes, The Royal Affair Tour: Live From Las Vegas

November and Beyond
David Bowie, Metrobolist (aka The Man Who Sold the World) (reissue)
Neil Young, Archives Volume 2; Return to Greendale (live)
Rick Wakeman, Christmas Variations (expanded reissue)
Wilco, Summerteeth (expanded anniversary reissue)
Elvis Presley, From Elvis in Nashville (four-disc set)
Jimi Hendrix, Live in Maui
Little Richard, Southern Child (previously unreleased)
Andrew Farriss [INXS], Andrew Farriss

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Elton John’s New ‘Jewel Box’ Unearths 60 Unreleased Tracks

The depth of Elton John‘s catalog takes the spotlight in Elton: Jewel Box, a new box set arriving Nov. 13. His long run of hits are skipped in favor of album tracks, demos, B-sides and other rarities spread across eight CDs.

More than 80 of the 148 songs in the collection are getting their first-ever digital release; 60 of those have never been available in any format.

The first two discs consists of 31 deep cuts, while the next three contain demos and songs recorded between 1965 and 1971 for John’s pre-fame groups like Bluesology and the Bread and Beer Band. The sixth and seventh discs compile 36 B-sides from 1976-2005, 17 of which have been previously available only on vinyl.

Elton: Jewel Box concludes with 16 songs singled out in John’s 2019 autobiography Me, from “Empty Sky” through “I’m Gonna Love Me Again,” the Academy Award-winning duet with Taron Edgerton from last year’s Rocketman biopic.

You can see the track listing below.

Jewel Box is housed in an outer slipcase and contains a hardcover book containing liner notes, including John’s track-by-track commentary for the first two discs. You can hear a demo for “Sing Me No Sad Songs,” which John and Bernie Taupin wrote in 1969, below.

“To delve back through every period of my career in such detail for Jewel Box has been an absolute pleasure,” John said in a press release. “Hearing these long lost tracks again, I find it hard to comprehend just how prolific Bernie and I were during the early days. The songs just poured out of us, and the band were just unbelievable in the studio.

“I always want to push forward with everything I do and look to the future, but having time during lockdown to take stock and pull these moments from my memory from each era has been a joy. As a devout record collector myself, this project has really excited me, and I couldn’t be happier with the level of craft involved in such a carefully curated, lovingly constructed box set. I’m sure my fans will enjoy it as much as I have.”

Elton John, ‘Elton: Jewel Box’ Track Listing
Disc One: Deep Cuts
1. Monkey Suit — Elton John and Leon Russell
2. Where To Now St Peter?
3. Mellow
4. The Ballad Of Danny Bailey (1909-34)
5. Chameleon
6. Gone To Shiloh — Elton John and Leon Russell
7. We All Fall In Love Sometimes
8. Too Low For Zero
9. The Power — Elton John With Little Richard
10. All That I’m Allowed
11. The Bridge
12. The New Fever Waltz
13. Stone’s Throw From Hurtin’
14. The North
15. Hoop Of Fire
16. Boogie Pilgrim

Disc Two: Deep Cuts
1. Ticking
2. Crystal
3. All Quiet On The Western Front
4. Tell Me When The Whistle Blows
5. Freaks In Love
6. Never Too Old (To Hold Somebody) — Elton John and Leon Russell
7. The Emperor’s New Clothes
8. House
9. (Gotta Get A) Meal Ticket
10. Understanding Women
11. Shoot Down The Moon
12. Have Mercy On The Criminal
13. Blues For Baby And Me
14. My Quicksand
15. Street Kids

Disc Three: Rarities Part One 1965-1968
1. Come Back Baby — Bluesology
2. Mr. Frantic — Bluesology
3. Scarecrow (Piano/Tambourine Demo)
4. A Dandelion Dies In The Wind (Piano Demo)
5. Velvet Fountain (Piano Demo)
6. A Little Love Goes A Long Way (Piano Demo)
7. If You Could See Me Now (Piano Demo)
8. Mr. Lightning Strikerman (Piano Demo)
9. Countryside Love Affair (Piano Demo)
10. I Could Never Fall In Love With Anybody Else (Piano Demo)
11. I Get A Little Bit Lonely (Piano Demo)
12. The Witch’s House (Piano Demo)
13. Get Out Of This Town (Piano/Tambourine Demo)
14. Year Of The Teddy Bear (Piano Demo)
15. Where It’s At (Piano/Percussion Demo)
16. Who’s Gonna Love You (Piano/Percussion Demo)
17. Nina (Band Version)
18. Angel Tree (Piano/Guitar/Tambourine Demo)
19. Here’s To The Next Time (Piano/Tambourine Demo)
20. Thank You For All Your Loving (Band Version)
21. Watching The Planes Go By (Band Version)
22. When The First Tear Shows (Arranged Band Version)
23. Tartan Coloured Lady (Arranged Band Version)

Disc Four: Rarities Part Two 1968
1. Hourglass (Band Version)
2. 71-75 New Oxford Street (Band Demo)
3. Turn To Me ( Arranged Band Version)
4. Reminds Me Of You (Piano Demo)
5. I Can’t Go On Living Without You (Arranged Band Version)
6. And The Clock Goes Round (Piano Demo)
7. When I Was Tealby Abbey (Piano Demo)
8. I’ll Stop Living When You Stop Loving Me (Piano Demo)
9. Trying To Hold On To A Love That’s Dying (Piano Demo)
10. Sitting Doing Nothing (Band Version)
11. Regimental Sgt. Zippo (Band Version)
12. Cry Willow Cry (Band Demo)
13. There Is Still A Little Love (Band Demo)
14. If I Asked You (Band Demo)
15. Skyline Pigeon (Piano Demo)
16. Two Of A Kind (Arranged Band Version)
17. The Girl On Angel Pavement (Arranged Band Version)
18. Smokestack Children (Arranged Band Version)
19. Baby I Miss You ( Band Demo
20. All Across The Havens (Piano/Guitar Demo)
21. Bonnie’s Gone Away (Piano/Guitar Demo)
22. Just An Ordinary Man (Piano Demo)
23. There’s Still Time For Me (Piano/Guitar/Tambourine Demo)

Disc Five: Rarities Part Three 1968-1971
1. The Tide Will Turn For Rebecca (Piano Demo)
2. Dick Barton Theme (Devil’s Gallop) (Bread And Beer Band)
3. Breakdown Blues (Bread And Beer Band)
4. Taking The Sun From My Eyes (Arranged Band Version)
5. It’s Me That You Need (Band Demo)
6. Sing Me No Sad Songs (Band Demo)
7. The Flowers Will Never Die (Piano Demo)
8. In The Morning (Band Demo)
9. Open Your Eyes To The Sun (Piano/Tambourine Demo)
10. One Time, Sometime or Never (Band Demo)
11. Slow Fade To Blue (Piano/Guitar Demo)
12. Rolling Western Union (Piano Demo)
13. My Father’s Gun (Piano Demo)
14. Amoreena (Piano Demo)
15. Burn Down The Mission (Piano Demo)
16. Razor Face (Piano Demo)
17. Madman Across The Water (Piano Demo)
18. Holiday Inn (Piano Demo)
19. All The Nasties (Piano Demo)

Disc Six: B-Sides Part One 1976-1984
1. Snow Queen (Elton John and Kiki Dee)
2. Conquer The Sun
3. Cartier
4. White Man Danger
5. Tactics
6. Steal Away Child
7. Love So Cold
8. Les Aveux (Elton John and France Gall)
9. Donner Pour Donner (Elton John and France Gall)
10. J’veux D’la Tendresse
11. Fools In Fashion
12. Can’t Get Over Getting Over Losing You
13. Tortured
14. Hey Papa Legba
15. Take Me Down To The Ocean
16. Where Have All The Good Times Gone? (Alternate Mix)
17. The Retreat
18. Choc Ice Goes Mental
19. A Simple Man

Disc Seven: B-Sides Part Two 1984-2005
1. Lonely Boy
2. Highlander
3. Billy And The Kids
4. Lord Of The Flies
5. Rope Around A Fool
6. Medicine Man
7. I Know Why I’m In Love
8. Big Man In A Little Suit
9. God Never Came Here
10. The North Star
11. Did Anybody Sleep With Joan Of Arc
12. So Sad The Renegade
13. A Little Peace
14. Keep It A Mystery
15. How’s Tomorrow
16. Peter’s Song
17. Things Only Get Better With Love

Disc Eight: And This Is Me…
1. Empty Sky
2. Lady Samantha
3. Border Song
4. My Father’s Gun
5. All The Nasties
6. I Think I’m Going To Kill Myself
7. Philadelphia Freedom
8. Song For Guy
9. Sartorial Eloquence
10. Elton’s Song
11. Cold As Christmas (In The Middle Of The Year)
12. I Fall Apart
13. Amazes Me
14. The Last Song
15. American Triangle
16. (I’m Gonna) Love Me Again (Elton John and Taron Egerton)

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How Spandau Ballet’s Gary Kemp Ended Up Doing Pink Floyd Songs

In many ways, the lineup for Nick Mason‘s Saucerful of Secrets makes perfect sense.

The band’s rhythm section, for instance, also includes longtime Pink Floyd collaborator Guy Pratt on bass. Keyboardist Dom Beken previously worked with late Floyd keyboardist Richard Wright. And guitarist Lee Harris’ father was cinematographer on the music video for Pink Floyd’s “High Hopes.”

Then there’s Gary Kemp. Best known as co-founding guitarist with the New Romantic band Spandau Ballet, he arrived with no direct musical connection to Mason’s old group. Instead, Kemp’s friendship with Pratt – who’s collaborated with David Gilmour since 1984 – opened the door for a second career in exploring Pink Floyd’s pre-‘Dark Side of the Moon‘ material.

Nick Mason tells UCR about working with Kemp, their earliest jams together and the prospect of following up the new Live at the Roundhouse with a studio album.

Overall, this band is incredible. You have someone like Guy Pratt, who has such a long running association with Pink Floyd. But each of these guys are students of this music. There’s such a dedication and a reverence for the material that elevates this experience so far beyond it just being a band playing Pink Floyd music.
I’ve known Gary for a few years before, but I had no idea how passionate he was about it – and how well he knew the songs and knew the music. I think he’s been one of the great surprises and assets to this whole enterprise. Because everyone knows that he’s a great songwriter who has written a couple of really mega-hits, and Spandau Ballet was seen as the New Romantics – hardly Pink Floyd territory – but he just seemed to slide straight into it.

Watch Gary Kemp Perform With Nick Mason’s Saucerful of Secrets

As this band was starting to come together from a lineup perspective, what it was like when you guys started jamming?
It was absolutely terrific. It’s a very old-fashioned concept, really. Because the band was put together, not with auditions or me going out looking for the right people. It was actually being approached by Lee and then by Guy. Then Gary wanted to join in. In a way, it was a very sort of old-school version of how you put a band together – which is people that you like, deciding that it would be fun to work together. We had no idea, really. I certainly had no idea of whether it would work or not. I think we booked two days in the rehearsal room. It was a really sort of pretty glossy room. To keep it really simple, I didn’t even bring my own drum kit in. We just used one that they had in the room. By the end of the day, we all looked at each other and went, “That was great! Let’s do more!”

I don’t think we did more than 10 or 12 days of rehearsal before we actually went into a pub and performed. At the end of that, we just went, “This is great.” There were a couple of people, various management people and agents and so on, they said: “We’ll find you the work. This could work on the road.” To which everyone went, “Great!” We started packing.

Would you like to make new music with this band at some point?
My first reaction is to say, “Really, I don’t think so.” What I really feel is that it may be possible and it might be something to look at, but it won’t be in the next year or so – because there’s still so much of this enterprise to work through. There’s still so many songs that we’d like to have a go at. I think it’s quite difficult to actually do new music in this day and age, but particularly for a band of people who sort of already have done other things. Starting from scratch at this stage, it would be difficult. Having said that, a songwriter of Gary’s caliber, maybe, but it’s not something I would plan to do in the next year.

You Think You Know Pink Floyd?

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Ozzy Osbourne ‘More Than Shocked’ by ‘Suicide Solution’ Lawsuit

Ozzy Osbourne recalled being “more than shocked” when his song “Suicide Solution” became the subject of a lawsuit in 1986.

Two years earlier, 19-year-old John Daniel McCollum shot himself to death while listening to the first side of Osbourne’s Blizzard of Ozz album, which concluded with the track. McCollum’s parents later sued the singer and his record label, claiming the lyrics were a “proximate cause” of their son’s death.

In an upcoming episode of Ozzy’s Boneyard on Sirius XM, host Billy Morrison asked about the tragedy. “Well, that was all taken out of perspective,” Osbourne said. “We were all doing some serious pounding of the booze back then. I’d been drinking heavily for a long, long time. And it’s like, ‘Suicide Solution’ means ‘solution’ being liquid – not a way out. People get the fucking thing wrong.”

He remembered receiving a call at home in England from wife and manager Sharon, who was in the U.S. at the time: “She said, ‘Get on a plane. You’ve got to come out.’ I said, ‘Tell me what I’ve got to come out for.’ She said, ‘I’ll tell you when you get here.’ I said, ‘Is it problems?’ She said, ‘Just get on a fucking plane.’ I get to LAX, come to the terminal and there must have been 200 cameras. I’m looking over my shoulder, I’m standing, and about 15 microphones [are] in front me. ‘What do you think about this lawsuit?’ And I’m going, ‘What lawsuit?’”

Asked if he was shocked to discover the details, Osbourne replied: “More than shocked.” You can listen to the interview below.

The case was dismissed two years later, with a State of California court ruling that McCollum’s suicide was not a foreseeable consequence of the song’s contents.

That was the first of three lawsuits over “Suicide Solution.” Parents claimed the song played a role in the deaths of 16-year-old Michael Waller in 1986 and 17-year-old Harold Hamilton in 1988. Those cases were also dismissed.

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How Hans Zimmer Covered Pink Floyd’s ‘Eclipse’ for ‘Dune’ Trailer

The version of Pink Floyd‘s “Eclipse” found in the new trailer for Dune was recorded using social distancing, with Hans Zimmer, the film’s score composer, overseeing the sessions remotely.

According to Variety, Zimmer hired choral contractor Edie Lehmann Boddicker to bring 32 of the top session singers in Los Angeles to his Remote Control studio in Santa Monica, Calif. To minimize risk of exposure to the coronavirus, the vocal parts were recorded over eight separate sessions, with four singers allowed in the studio at a time. Lehmann Boddicker was on-site, while Zimmer observed from his home studio via FaceTime and offered input.

“We followed all the [COVID-19] protocols,” Lehmann Boddicker said. “Everybody wore masks except when they were in their separate cubicles, divided by glass, all with their own mic’s, and everything was wiped down between sessions.”

Twelve of the singers performed the lyrics, while the other 20 contributed the background vocals. Zimmer would only tell Variety that recording “Eclipse” for the Dune trailer was his doing, but Lehmann Boddicker added that the composer “wanted to pay homage to the original, very back-phrased sound, a little spaced-out, so the vocals would not sound urgent. There’s a kind of joy happening in the track, a lot of hopefulness. It’s not despondent, just very peaceful and sounding not of this planet.”

There was also the matter of getting Roger Waters‘ approval for the Dark Side of the Moon closing track. Allegra Willis Knerr of BMG U.S. noted that it took “multiple departments and territories across BMG. Our Synch team got involved early in the process when the studio first showed interest in ‘Eclipse.’ We wanted to get this in front of Roger Waters and his team as quickly as possible. All of us could sense this had the potential to be something very special. We’re absolutely thrilled with the final result and enthusiastic reaction to the spot.”

Following the trailer’s release last week, digital sales of “Eclipse” increased 1,750 percent. You can hear “Eclipse” beginning at 1:12 of the trailer embedded below.

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